Donald Trump - that is, the seasoned actor Donald Trump, with a star on the Hollywood Walk of Fame - has announced his running mate, and it is none other than the celebrated Hollywood darling, James David "JD" Vance.

We all already know who Mr. Vance is, because the star-studded Hollywood production, Hillbilly Elegy, based on his eponymous "memoir", has been top ten Netflix fodder for months.

(To bring you up to speed if you sensibly stay away from both streaming services and American politics... JD Vance was born in poor, rural America - the so-called Rust Belt - in 1984, into very chaotic circumstances. He didn't know his father, and his mother was a drug addict who bounced between husbands. The young JD battled against the odds to go to college and, eventually, Yale Law School, where (he says) a professor - a successful author herself - convinced him to write his memoirs. 'Hillbilly Elegy' was the result, a critically-acclaimed bestseller which was rapidly turned into a film, directed by Ron Howard and starring Glenn Close and Amy Adams.)

So let's just repeat that: the actor Donald Trump has appointed the film writer JD Vance as his Vice President.

I have again and again drawn attention to the extraordinarily large number of high-profile political figures who have a background in the performative arts - either as actors themselves or as drama teachers - and invited people to consider that, when professional purveyors of theatrical art "become politicians" they are, in fact, simply moving into another acting role.

They are playing parts and reading scripts, handed down to them by directors and producers, as part of an elaborate global stage show. The phrase "politics is showbusiness for ugly people" is telling us that high-profile, big-name politics is every bit as much of a fictitious dramatic production as Hollywood movies are.

(And when I say "politics", I'm not talking about things like local council elections or obscure by-elections that get zero press attention and where nobody knows the names of any candidates - I'm talking about "big deal" politics like presidential elections, which are as televised and publicised as much as, or more than, any star-studded blockbuster.)

As such, after all the time we have spent at this site exploring all the extensive crossovers and interlinks between those involved in the dramatic arts, and those involved in politics, it would be stretching credulity to breaking point - even, perhaps, for a normie - to claim that Trump picking as his VP someone with such extensive ties to Hollywood (ties which Trump himself also has) is "just a coincidence".

It's not. We are watching a movie.

Trump doesn't actually believe in any of what he professes on the presidential stage, and nor does Vance (who has previously vociferously denounced Trump to the extent of comparing him to Hitler). These are simply Hollywood writers and actors who know how to propagandise people, and have been tasked with working together to do just that.

There is no other explanation for why Trump would pick Vance - a political novice who only first assumed office in 2023 - for such a powerful position. Trump - or rather, the casting directors managing Trump - are clearly not picking Vance for his political acumen or experience (he is just 39, and, if elected, would be the youngest VP since 1857).

Vance has been picked because of his theatrical credentials, and well-established ability to use the screen to propagandise.

There's a reason famous actors are so well paid (by the time it wrapped in 2004, the cast of 'Friends' were earning $1 million an episode each, and that was twenty years ago), and that is because, by far the most effective way of influencing a population and controlling what they think and do, is to have actors model it for them on a screen.

Due to the fact that the flickering of a screen induces an alpha-wave brain state, the same state we experience when undergoing hypnosis, we are rendered far more suggestible to images and messages portrayed via a screen, than to what we see and hear in real life.

As such, there is a reason that the overlords went all-out - not just to develop television - but to ensure one was in every home.

Society had no need of television: we already had books, newspapers, radio, theatre, sports, and cinema. Not to mention families, communities, and friends.

There was no "entertainment deficit crisis". People were not sitting at home every night twiddling their thumbs. In short: no family home needed that hypnotic black box installed in the corner of every living room.

Yet, from the 1950s onwards, the overlords made damned sure we all got them.

Why?

Because of the propagandist power to control the mass mind that the medium of the screen possesses. The social engineering that so accelerated from the 1960s onwards would not have had a hope of being so successful - and certainly not of working so quickly - if it weren't for television. The television meant that, for the first time, there was now a hypnotic state propagandist constantly inside every home, which had a power that far eclipsed anything previous forms of mass media - newspapers and radio - had been able to do.

The flickering screen commands attention and immerses its audience in a way audio mediums, and the written word, simply cannot. If you want to exert mass mind control over a population, the screen is key (it's also why the one universal trait one finds amongst almost all 'conspiracy theorists' is that they don't watch television).

As such, every time the overlords want to introduce a major social change, all they need to do is feature it on television, knowing that people will both instantly normalise the behaviour - and go on to copy it (monkey see, monkey do, being how human psychology works on the most basic level).

That was the foundational purpose of 'soap operas', vehicles which do not reflect societal behaviour so much as shape it. Anything the overlords want us to do en masse, they simply platform for us first through a screen, using soap operas or other popular TV shows. All the social changes that swept so rapidly through Western society from the 1960s onwards were all first introduced to the populace by a screen.

That is why actors in top sitcoms like 'Friends' are so well-paid, and that is why there is such an incestuous relationship between Hollywood and politics.

The overlords know how effective TV shows and movies are at influencing and shaping public perception and behaviour, so they simply harness the same tools to control the mass mind via politics.

Donald Trump and JD Vance, veterans of screen-based entertainment, are therefore here to manage a massive perceptual shift in the West, regarding what we can expect our lives to be like in the near future.

I have read Vance's book (well, I've read most of it: as Milo Yiannopoulous astutely observed recently, for such an "amazing poignant brilliant bestseller", it's hard to find anyone who's actually managed to finish it). It's pretty bog-standard misery memoir stuff (it could do with a good edit, and reducing all the self-indulgent, repetitive I HAD IT REALLY TOUGH YOU KNOW (and just look at me now...) stuff by at least half).

However, his mediocre literary abilities are not really the point: the point is that this book, as we now know, is not, in fact, merely an innocent 'memoir' charting his troubled youth, but rather, an incendiary political polemic written by the future Vice President of the United States.

So we must now view it through that lens, and only through that lens.

Note that Donald Trump has previously, famously, claimed he will "drain the swamp", a statement meant to confirm - as Trump's core base of 'conspiracy theorist' supporters believe - that there is a shady cabal of deeply evil "deep state" individuals who are hellbent on subverting society and destroying America.

JD Vance, however, plainly believes nothing of the sort, and he makes it very clear in his memoir who's to blame for America's endemic social and economic struggles...

The people who are struggling.

Vance writes of America's disadvantaged and dispossessed (the background from which he came):

"We spend our way to the poorhouse. We buy giant TVs and iPads. Our children wear nice clothes thanks to high-interest credit cards and payday loans. We purchase homes we don't need, refinance them for more spending money, and declare bankruptcy, often leaving them full of garbage in our wake. Thrift is inimical to our being."

Certainly that may be true of some poor people, but to say this is the comprehensive explanation for the ever-growing economic disparities and cultural decline in America is farcical: but it tells us what angle Vance as VP will take, and the level of interest he is likely to have in even acknowledging the existence of any "swamp", let alone showing an inclination to drain it.

Vance is simply recapturing the ancient feudal belief, beloved of predator classes everywhere, that anyone "poor" (read: making less than $100,000 a year) is lazy, feckless, stupid, and probably addicted to something (styling himself as an anti-opioid crusader, Vance in fact worked for a law firm who lobbied for Purdue Pharma, producer of so-called "hillbilly heroin", Oxycontin. Oxycontin is estimated to have killed over 200,000 people, with Vance's home state of Ohio having one of the highest rates of opioid overdose deaths).

The usual suspects, including CIA asset Tucker Carlson, are now out in force pushing Vance and, predictably, claiming he's "a real threat to the establishment" (yes, that same establishment which has given him a phenomenally successful career, bestselling book, and Hollywood blockbuster to boot).

"Anti-establishment" JD, by the way, has been funded by as-establishment-as-it-gets Peter Thiel, to the tune of about $15 million.

Thiel, described as "an iconoclastic tech investor and pioneer", not only cofounded PayPal (who bestowed a permanent lifetime ban on your author here) and was one of the first investors in Facebook, but he is also deeply invested in AI and transhumanism, and has financed both SpaceX and Neuralink (Elon Musk's "brain chip" company).

So why would such a person have an interest in ploughing mammoth amounts of money into JD Vance?

When, in fact, did Thiel and Vance first become acquainted?

While one might imagine Thiel only became interested in Vance once he entered politics, in reality, their connection goes back much further, and they first met when Vance was a student at Yale Law School and Thiel gave a talk there.

Vance describes this talk as, "the most significant moment" of his time at Yale.

We can therefore imagine that the fact Vance wrote a best-selling memoir immediately after leaving Yale, is not entirely unconnected to Thiel.

The "official story" Vance gives regarding his memoir is that it was one of his professors - another best-selling author, the controversial Amy Chua - who convinced him to write it.

Yet is it not far more likely that the man who went on to be such a generous benefactor to Vance later on, was also the power (and the money) behind Vance's book? A book which has gone on to serve as an explosive political polemic, laying the foundations for Vance's Vice Presidential candidacy, a candidacy that Thiel is also bankrollng...

Please note that it is incredibly, mercilessly difficult to break into publishing, and when Vance submitted his memoir, he was a 31-year-old "nobody". To imagine that such a person, from an extremely disadvantaged background and with no obvious establishment connections, could have his book snapped up, turned into a bestseller, and then made into a film, is, frankly, the stuff of fantasy. That simply doesn't happen to ordinary authors.

It only happens to people with deep establishment connections who are being utilised to fulfil some sort of an agenda. In short: the establishment does not give you a central role on the world stage, it does not make you a bestselling author and turn your life into a film, unless you are an integral part of said establishment and deeply invested in serving it in key ways.

So, I submit that the true backstory behind Vance's "memoir" (polemic) is that Peter Thiel paid him to write it, then used his phenomenal wealth and connections to ensure it went straight to the top and became a massive cultural talking point.

Thiel is now recouping on his initial investment by ensuring Vance (an asset whom Thiel, courtesy of all his generous "donations", now entirely owns and controls) occupies the highest political office in the world.

And why would tech pioneer and AI enthusiast Thiel be incentivised to do that?

Because what we are witnessing here is the management of a handover, as the "old world" that Vance has described in his book - where "the poor" serve the elites by working for them in lowly occupations - is gradually swapped over for the "new world", where many jobs (including a lot of previously white-collar. and office jobs) are now done by AI (including "AI-enhanced" transhumans). That means an awful lot of people will become, in the very real sense of the word, redundant.

Yet to get the public to accept this gargantuan cultural shift, a lot of clever marketing and propagandising needs to be done.

It's key to note that, if you read between the lines, there is, in fact, very little difference between Vance's rhetoric about the feckless, spendthrift, drunk and drugged inhabitants of rural America, and Yuval Noah Harari's remarks about the so-called "useless class" - people who are no longer needed as workers by the global machine, and so sink into apathy and substance abuse.

Both Vance and Harari coalesce on an ultimate point: that more and more ordinary people are becoming useless, living meaningless lives made bearable only by substances and distractions (Harari has concluded the best-case scenario for the future of many ordinary people is "drugs and computer games").

Vance will therefore use his Hollywood credentials and the power of propaganda - ably aided and abetted by actor Trump - to gain increased support for a demonisation of this "useless class", who are, ultimately, targeted for extinction.

As employment opportunities for them continue to further dwindle, UBI will become inevitable, and, of course, it will come with conditions (remember that the 'U' stands for universal, not unconditional) - such as, taking vaccines.

As we know, the Covid vaccine was a population-control bioweapon designed to reduce life expectancy by triggering the rapid development of diseases usually associated with old age (cancer, heart disease), targeted in particular at people who are consuming a lot of state resources, e.g., pensioners and those with chronic illnesses.

The psychopathic state puts up with people as long as they are generating taxes, but as soon as they take more than they give (even if they've spent a lifetime giving), the state wants rid of them. That's why it makes the depopulating "flu vaccine" free to all pensioners, and why this life-limiting injection has saved a lot of money on pensions.

As such, once the government is sustaining an even larger number of people on state handouts via UBI, it has every incentive to get rid of them as soon as possible, so we can expect to see vaccines becoming a condition of continued receipt of UBI.

Once the "useless class" begins to die en masse from these injections, this will simply be blamed on their "poor lifestyle choices" that have been so extensively publicised and demonised by JD Vance's book. (Of course, some will be caused by poor lifestyle choices, such as overdoses of the lethal pharmaceutical product Vance's former employers lobbied to protect.)

Note also, as a not-incidental aside, that Vance's wife attended the University of Cambridge on a scholarship programme funded by the Bill and Melinda Gates Foundation. The scholarship's mission is: "to build a global network of future leaders committed to improving the lives of others". 

We know exactly how Bill Gates endeavours to "improve the lives of others", and it's by sterilising and killing them. So, added to her husband's credentials of working with lawyers to protect pharmaceutical companies, a clear picture of the Vances, and their true allegiances and ambitions, is emerging.

And there we have it: that's what actor Trump and screenwriter Vance are there to do. Just like any other high-profile creative team within the performative arts industry, they're there to manage public perceptions and reframe our expectations as we move into the next desired stage of the agenda.

By shining a light on their dark intentions, however, we greatly reduce the chances they will succeed.

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